Cannes Review: Nicolas Winding Refn's Return Falls Flat with Her Private Hell

      Nearly ten years after the debut of The Neon Demon, Nicolas Winding Refn makes his return to Cannes with Her Private Hell—a film that showcases the emerging internet sensation Sophie Thatcher, captured beautifully through the Danish director’s distinct neo-noir aesthetic. However, the film suffers from a paper-thin plot and virtually non-existent characters, leaving the once-provocative filmmaker's first feature in a decade struggling against an overwhelming sense of empty style—resembling either a fragrance commercial or, worse yet, an AI-generated product. Individual interpretations of this may vary based on personal tastes and preferences, but I must admit that after a decade away from cinema's grand stages, I anticipated something more substantial.

      It's intriguing to consider Refn in the realm of AI-generated imagery—an area that greatly benefits from his role in revitalizing neo-noir at the beginning of the 2010s, around the time when Instagram and Pinterest were emerging. His body of work, spanning from 2011’s Drive to The Neon Demon in 2016, has inspired a subgenre of filmmaking that likely reached its peak in 2017 with Denis Villeneuve’s Blade Runner 2049. Whether Her Private Hell stands out as distinctly as Wes Anderson does against claims that AI can replicate his style, remains uncertain. While the film's humanity is evident in the vibrant and animated performances, its lack of authentic dialogue and genuine settings renders it remarkably flat and vague.

      Regarding the narrative: Thatcher plays Elle, the daughter of a wealthy filmmaker named Johnny Thunders (Dougray Scott from MI: 2, who revels in his role), who has a penchant for younger women and has married her best friend, Dominique (Havana Rose Liu). The story introduces a naïve ingenue named Hunter (Kristine Froseth), reminiscent of Elle Fanning's entry into the dark fashion realm of Neon Demon. However, Refn quickly shifts away from the filmmaking aspect following an early, Barbarella-inspired shoot. This change occurs because a creature dubbed Leather Man has arrived in the dark city of the film, targeting young women and unnervingly approaching them with violent intent. An American G.I. (Charles Melton) appears on the scene, seeking out gangsters in true Refn fashion. The essence of the plot is conveyed.

      It seems only fitting that Thatcher, arguably the most quintessential Refn actress of her generation, would land this role. Since her breakout in Yellowjackets, the Chicago native has crafted a convincing persona of effortless cool, blending elements of Joan Jett and Lana Del Rey—perfectly aligning with the director’s vision. Throughout Hell, Thatcher maintains a striking appearance, even while smoking—a skill that some of her contemporaries have found challenging. When Melton arrives, echoing Elvis in G.I. Blues—albeit with tough-guy traits and a lean physique—you start to anticipate a significant interaction, yet Refn redirects the narrative elsewhere. Instead, we see the film’s only sex scene (featuring the equally charming Diego Calva), but his character is not given the opportunity to develop beyond a superficial role, leading to a climactic moment that fails to evoke any real excitement.

      During the press screening, the term “pretentious” popped into my head, a word that’s fallen out of favor. When a character invitingly informs viewers they are about to enter a famously scandalous party, only to unveil a rather vacuous nightclub adorned with Greek busts and blue/magenta strobe lights, there's little to do but roll one’s eyes. Pino Donaggio, Brian De Palma’s legendary composer, offers what may be his final score at 84 years of age, and it’s quite impressive. Yet even considering the challenging years Refn has faced—marked by a serious brush with death during heart surgery—Her Private Hell does not qualify as a triumphant comeback. In the promotional notes, he mentioned that this experience has sparked a newfound creative surge. Here’s hoping for more.

      Her Private Hell premiered at the 2026 Cannes Film Festival and is set for release by NEON on July 24.